This article explores how two recent television drama miniseries, Top of the Lake and Les Revenants produce moments of the uncanny. I argue that both series produce the uncanny in formal ways made possible by conditions of a televisuality characterized by narrative complexity and a pronounced aesthetic. Both series draw on recognizable conventions of the police procedural genre, but each develops a dialectical narrative structure that rotates between a rational procedural plotline and an irrational, less linear narrative of a secretive community. In my exploration, I conceive of the televisual moment as a form of rupture and draw on Freud’s original sense of "the uncanny" as making strange what was fundamentally familiar. I argue that ultimately each series mobilizes "the uncanny" in distinctive ways, resulting in two endings with very different implications.